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Militant aesthetics: Polemics and t...

De Domenico, Peter Francis.

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Militant aesthetics: Polemics and the French novel of the 1930s.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Militant aesthetics: Polemics and the French novel of the 1930s./
作者:	De Domenico, Peter Francis.
面頁冊數:	206 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3408.
Contained By:	Dissertation Abstracts International65-09A.
標題:	Literature, Romance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3146828
ISBN:	0496057529

Militant aesthetics: Polemics and the French novel of the 1930s.
De Domenico, Peter Francis.

Militant aesthetics: Polemics and the French novel of the 1930s. - 206 p.

Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3408.

Thesis (Ph.D.)--University of California, Berkeley, 2004.

This study traces the evolution of the political novel in France over the course of the 1930s. Specifically, it investigates the "militant aesthetics" that dominated French fiction in the thirties: the variety of rhetorical techniques employed by authors, at times of opposing ideological views, to articulate political messages through the medium of narrative fiction.

ISBN: 0496057529Subjects--Topical Terms:

1019014
Literature, Romance.

Militant aesthetics: Polemics and the French novel of the 1930s.
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245 1 0 $a Militant aesthetics: Polemics and the French novel of the 1930s.
300 $a 206 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3408.
500 $a Chair: Michael Lucey.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2004.
520 $a This study traces the evolution of the political novel in France over the course of the 1930s. Specifically, it investigates the "militant aesthetics" that dominated French fiction in the thirties: the variety of rhetorical techniques employed by authors, at times of opposing ideological views, to articulate political messages through the medium of narrative fiction.
520 $a The chapter entitled "Unfinished Business" examines an incomplete work of political fiction written by Communist "fellow traveler" Andre Gide at the height of Socialist Realism's popularity. By Gide's own admission, his aborted tale Genevieve failed to meet the strict stylistic and ideological demands of Moscow's official literary style---the rigid literary construction required by Soviet-dictated realism proved incompatible with Gide's personal notion of social revolution. The next chapter, "Nineteen Thirty-Five," takes fiction as a window into the despair that underlay the Parisian intellectual Left at the height of its power at the time of the Front Populaire. Georges Bataille's Le Bleu du ciel seems to mock both the author's revolutionary peers and the Socialist Realist stylistic cult. In Bataille's novel, both stylistic looseness and cynical flirtation with Fascism attest to the profound fatalism of the mid-thirties---a point in time when intellectuals began doubting both Marxist political doctrine and the orthodox methods behind the promotion of such dogma through fiction.
520 $a "Combing the Ideological Dustbin" serves as an overview of the nascent, but ultimately ill-fated attempts by novelists Robert Brasillach and Pierre Drieu la Rochelle to create Fascist-inspired fiction in 1939. A third section of this chapter addresses Louis-Ferdinand Celine's anti-Semitic and anti-Soviet pamphlets that appeared during the latter half of the thirties. "Revenge of the Novel," considers one author who questioned the very efficacy of using novels to promote revolutionary change. Roger Caillois asserted that concrete demonstrations of communal power over the individual, embodied in modern architecture (or in vast, aesthetic displays of military might, like the Nuremberg rallies) surpassed the novel in its ability to move individuals to revolutionary political action.
520 $a "Militant Aesthetics" ultimately strives to answer the following questions: Which styles, genres and techniques used by these writers were most effective for expressing a given political message? How did aesthetic concerns necessarily imply a given political stance? And finally---and perhaps most importantly---in what way did political content itself become contaminated by the aesthetic system used to promote it?
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650 4 $a Political Science, General. $3 1017391
650 4 $a Literature, Modern. $3 624011
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710 2 0 $a University of California, Berkeley. $3 687832
773 0 $t Dissertation Abstracts International $g 65-09A.
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